Monday, 9 September 2013
Attempting to see the Taryn Simon exhibition...
Having seen the George Economou exhibition last year, which you can see here and here and found out that the prolific art collector had opened his own gallery with a current exhibition of the photographs of Taryn Simon, I decided to go and see the exhibition.
The gallery is on the other side of Athens and it took me an hour and a half on public transport to get there.
Marousi is not an area I am very familiar with but with the help of my fellow-passengers on the bus I managed to get off the right stop and there it was - 80 Kifisias Avenue.
I could see no signs that told me that this was the gallery, but there was a cow in one of the windows,
and assuming that it was one that had been purchased from Cow Parade, Athens I thought I was in the right place and went to the entrance which was locked. There was in fact an elaborate security system so I pressed the bell and explained my business on the intercom. I was told I could come in, and in order to do so, I had to go through the security procedure that one goes through to get into a bank in Athens these days: I pressed a button, the door opened, I went through to a small antechamber, waited for the second door to open, and finally reached reception.
I was asked to produce my ID by one of the two security guards at reception. I opened my bag but then realised that I had the wrong purse with me, so no ID. I also did not have my driving license with me which was the second item of identification that was requested. I started thinking that the one and half hour journey might have been in vain. The security guard then asked me to write my name on a piece of paper, he then picked up the phone and told someone that I was there to view the exhibition.
I was then directed to the building next door. On arrival, I noticed that the door was locked and there was no bell. I looked around me, wondering what to do next, and saw that the security guard was behind me and he told me that someone would come to collect me. When the extremely polite and helpful young woman came and opened the doors for me we had to go through the same process again: through one door, then waiting in the antechamber, then through the second door when it finally opened.
Phew! I had made it.
Do not let any of this put you off however:
The gallery is a beautiful modernist building, and the rooms are the best minimalist gallery space you could possibly want - unfortunately, photographs were not allowed, so I was not able to take any. George Economou is a prolific collector, and not only are the exhibitions in Marousi worth a look, but the organisation have also staged an exhibition on 20th century German art in the Hermitage in St Petersbourg which is running at the moment, and which I would love to see, but alas, will not be able to. Furthermore, the staff are extremely helpful and I was given all the help and information I would want while I was there.
This post is long enough however, so the Taryn Simon exhibition will have to wait until tomorrow.
Thursday, 5 September 2013
Maria Theodoraki
DESTE Prize at the Museum of Cycladic Art.
My favourite:
Maria Theodoraki, 1 Irodotou St., 2013
The installation consists of a crate marked with the words 'Fragile' and 'Move Art', and two columns of A4 sheets of paper, one in Greek, one in English. I took one of the sheets of paper, and this is part of the text:
The figurine lies within its crate at the Museum of Cycladic Art, on the first floor of the Stathatou Mansion in a room overlooking Irodotou Street...
The figurine's arms are folded vertically in the middle of the body with the left arm upon the right. The white marble sparkles at places while at others it is covered with a thin pale surface which is more prominent on the outer part of the left arm. The left shoulder appears to be less angular than the right. At the edge of the left temple a piece has been broken off leaving an oval-shaped mark in its place. The eyes are depicted as faint hollows and are tilted downwards. A trace of red pigment marks the edge of the right cheek. On the lower outer part of the right thigh and along the shin, the marble has been chipped and it is rough and ice-white in five places. The feet are not vertical to the body but slant downward in line with the shin in a hyperextended position. The sole of the left foot has been marked in black with number 253...
Figurine 253 has been dated between 2800 and 2300 BC...
In a letter to the Board of the Museum of Cycladic Art...
I request permission to exhibit the figurine in a specially constructed crate, repeating the gesture that placed the figurine as a grave offering in the dark....
Wednesday, 4 September 2013
Kalliopi Lemos
Passages of Substance, by Kalliopi Lemos
at the Byzantine Museum in Athens.
A commemoration of the 200th anniversary of the birth of Danish philosopher Soren Kierkegaard.
(So many events were being organised in Copenhagen when we were there in June....seeing this exhibition brought it all back)
Kierkegaard argued that faith is a unique subjective passion, which is not expressed by ecclesiastical rituals - only through this faith can one discover one's true self.
Self-quest is depicted in the installation 'Passages of Substance' by Kalliopi Lemos. The 3.47m long sweet chestnut wood boat carries twelve semi-abstract haunted salt heads to symbolise the crossing and the lonely search for self-awareness. The salt heads, with their distorted expressions of pain and agony, are positioned throughout the length of the boat encapsulating the meaning of life and what remains of this journey. They reflect the difficulty of the voyage, the achievement of reaching the destination, as well as the experiences of life that shape each person's individuality.
looking closer
and closer.
Salt on the ground all around the boat.
Tuesday, 3 September 2013
Aggelika Korovessi
Time, Form, Concept, by Aggelika Korovesi at the Athens National Archaeological Museum.
One modern sculpture in each of the rooms of the Museum, a dialogue between contemporary art an ancient Greek sculpture.
Peace, 2011 (cast bronze)
at reception, marking the beginning of the exhibition
looking closer
Sonic Alphabet, 2013 (stainless steel, cast bronze)
Waveforms of the sound of the letters of the Greek alphabet
looking closer
Flight, 2013 (cast bronze, marble)
Transmutations I, III, 1992 (wood, metal, glass, cast bronze, marble)
Balancing, Perhaps, 2013 (cast bronze, stainless steel)
Horsepower, 1985 (cast bronze)
In the same room as the Artemision jockey - a juxtaposition of the frenetic speed of the jockey then, and the dynamism of the modern rider, now.
Struggle, 2003 (bronze)
Air, 2003, (bronze, tufa (time stone))
Eros, 1996, (wood, metal, ink)
Freedom, 2009, (cast bronze)
Woman - Timelines, 1986 (silkscreening on plexiglass)
Peace - Paz, 1997, (bronze, marble)
Waveform of the word 'peace' in Greek and Spanish
Water, 1996 (wood, aluminium)
Water and the canoe lead us to the river Acheron
Sea Travellers, 2010 (stainless steel, bronze).
Monday, 2 September 2013
The garden in the Archaeological Museum
We spent quite a long time in the Archaeological Museum in Athens when we visited last week
and when we were in need of refreshment, we were pointed in the direction of the garden
and what a little oasis it is.
It's a courtyard, enclosed on all four sides with antiquities all around
lots of benches to sit on and relax
The café is here
so we stopped for a rest.
We also had a look at the Today's Mosaics exhibition by Daphne Angelidou which was in the garden.
Sunday, 1 September 2013
Flowers
I paid Antonello another visit yesterday
the window on the left
imaginative use of the wheat
the right hand-side window
looking closer
going in
detail
clever combination of object and plants
chillies on the counter
lots of orchids
a closer look at that bird's nest
looking out
gorgeous Chinese lanterns
and lilies.
Subscribe to:
Posts (Atom)